programme and abstracts - Alamire Foundation
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International Musicological Conference<br />
Music in Hanseatic Cities of<br />
Northern|Central Europe <strong>and</strong> the<br />
Baltic Area (c. 1350 – c. 1650)<br />
23-25 August 2008, Van Laerzaal – Elzenveld, Antwerp<br />
Organisation: With support of:
TABLE OF CONTENTS<br />
• Welcome ................................................................................ 3<br />
• Organisation .......................................................................... 4<br />
• Programme ............................................................................ 5<br />
o Saturday 23 August ....................................................... 5<br />
o Sunday 24 August ......................................................... 6<br />
o Monday 25 August ........................................................ 7<br />
• Abstracts ................................................................................ 8<br />
• Practical information.......................................................... 18<br />
• Eating out ............................................................................ 20<br />
• Internet cafes ....................................................................... 22<br />
• Taxi services ........................................................................ 22<br />
• Laus Polyphoniae ............................................................... 23<br />
• How to travel to / from Antwerp? .................................. 24<br />
• Getting around the city ...................................................... 25<br />
• Conference MAP ................................................................ 26<br />
2
WELCOME<br />
Music in the North/Central European <strong>and</strong> Baltic Hanseatic cities<br />
from 1350 to 1650: these are almost uncharted waters, to say the<br />
least!<br />
All the more reason for Laus Polyphoniae 2008 to devote not<br />
only a series of fascinating concerts to the subject, but also an<br />
international colloquium. This is a result of a close collaboration<br />
between the Fl<strong>and</strong>ers Festival Antwerp - Laus Polyphoniae <strong>and</strong><br />
the <strong>Alamire</strong> <strong>Foundation</strong>, International Centre for the Study of<br />
Music in the Low Countries.<br />
A word of thanks goes to the staff of both organisations, <strong>and</strong> in<br />
particular to Sofie Taes for her work on the conference<br />
<strong>programme</strong> <strong>and</strong> organisation, Ann Hasendonckx - who was a<br />
great help in administrative <strong>and</strong> various other matters, H<strong>and</strong>an<br />
Narin <strong>and</strong> Kathleen Engels for taking care of accommodation<br />
<strong>and</strong> communication, to the directors of the festival Laus<br />
Polyphoniae, Lieve Schaubroeck <strong>and</strong> Koen Froberg. A word of<br />
thanks also goes to Karel Moens, who agreed to open the<br />
instruments museum ‘Vleeshuis’ especially for the conference<br />
participants, <strong>and</strong> to the City of Antwerp for its warm welcome.<br />
Finally, I would like to extend a word of welcome to all of you<br />
here <strong>and</strong> thank you for your interest, your presence <strong>and</strong> your<br />
enthusiastic participation.<br />
Bart Demuyt<br />
Director of the <strong>Alamire</strong> <strong>Foundation</strong><br />
3
ORGANISATION<br />
The international musicological conference “Music in hanseatic<br />
cities of Northern/Central Europe <strong>and</strong> the Baltic Area (c. 1350 – ca.<br />
1650)” is organised by the <strong>Alamire</strong> <strong>Foundation</strong> <strong>and</strong> Fl<strong>and</strong>ers<br />
Festival Antwerp - Laus Polyphoniae, <strong>and</strong> is supported by the<br />
Katholieke Universiteit Leuven <strong>and</strong> the City of Antwerp.<br />
Programme Committee<br />
Sofie Taes (<strong>Alamire</strong> <strong>Foundation</strong> vzw - K.U.Leuven, BE)<br />
Ole Kongsted (Kongelige Bibliotek, Copenhagen, DK)<br />
Hanno Br<strong>and</strong> (Hanze Studiecentrum, Groningen, NL)<br />
Organisation Committee<br />
Sofie Taes (<strong>Alamire</strong> <strong>Foundation</strong> vzw - K.U.Leuven, BE)<br />
With help & support from<br />
Bart Demuyt (<strong>Alamire</strong> <strong>Foundation</strong> vzw - K.U.Leuven, BE)<br />
Ann Hasendonckx (<strong>Alamire</strong> <strong>Foundation</strong> vzw - K.U.Leuven, BE)<br />
H<strong>and</strong>an Narin (Fl<strong>and</strong>ers Festival Antwerp- Laus Polyphoniae)<br />
Kathleen Engels (Fl<strong>and</strong>ers Festival Antwerp- Laus Polyphoniae)<br />
Lieve Schaubroeck (Fl<strong>and</strong>ers Festival Antwerp- Laus Polyphoniae)<br />
Koen Froberg (Fl<strong>and</strong>ers Festival Antwerp- Laus Polyphoniae)<br />
4
PROGRAMME<br />
SATURDAY 23 AUGUST<br />
13h45 Registration & coffee Van Laerzaal,<br />
Elzenveld<br />
14h20-14h35 Welcome by BART DEMUYT<br />
(<strong>Alamire</strong> <strong>Foundation</strong>, BE)<br />
14h35-15u25 A.J. BRAND<br />
(Hanse Research Centre,<br />
Rijksuniversiteit Groningen,<br />
NL)<br />
The Hanseatic Legacy: trade,<br />
town life <strong>and</strong> culture<br />
15h25-15h40 Coffee break<br />
15h40-16h20 ARNE SPOHR<br />
(Wolfenbüttel, DE)<br />
„Was hört man da vor<br />
Seytenspiel / Orpheus nicht<br />
dabey gleichen will“: Die<br />
Huldigung Hamburgs vor<br />
Christian IV. (1603) und ihre<br />
musikgeschichtlichen Folgen<br />
16h20-17h00 ESTHER CRISCUOLA DE<br />
LAIX<br />
(University of California -<br />
Berkeley, US)<br />
Hieronymus Praetorius's Opus<br />
musicum <strong>and</strong> Music Print in<br />
Early Seventeenth-Century<br />
Hamburg<br />
17h30 Reception City of Antwerp Town Hall<br />
5
19h15 Concert introduction Hendrik<br />
Conscience<br />
Library<br />
20h00 Concert Concerto Palatino<br />
& Gesualdo Consort<br />
6<br />
St. Carolus<br />
Borromeus<br />
SUNDAY 24 AUGUST<br />
9h00 Breakfast-concert Chapel,<br />
Elzenveld<br />
11h40 SOFIE TAES<br />
(K.U.Leuven - <strong>Alamire</strong> <strong>Foundation</strong>,<br />
BE)<br />
Still making waves: Traces of the<br />
Hanze in Music History<br />
12h20 Lunch<br />
14h30-15h10 AGNIESZKA LESZCZYNSKA<br />
(University of Warsaw, PL)<br />
From Kampen via Königsberg to<br />
Gdańsk: the life of Johannes<br />
Wanning<br />
15h10-15h50 DIRK SNELLINGS<br />
(Capilla Flamenca, BE)<br />
Musicalia Gedanenses - Juvons<br />
beau jeu: dining with Music in<br />
Gdansk, c. 1550<br />
15h50-16h10 Coffee break<br />
16h10-16h50 DANUTA SZLAGOWSKA<br />
(Akademia Muzyczna -Gdańsk, PL)<br />
Polichorality <strong>and</strong> concertato in<br />
Gdańsk - foreign influences <strong>and</strong><br />
local tradition<br />
Van Laerzaal,<br />
Elzenveld
16h50-17h30 DANUTA POPINIGIS<br />
(Akademia Muzyczna -<br />
Gdańsk, PL)<br />
Die Glocken aus s`Hertogenbosch<br />
im hanseatischen Danzig<br />
20h00 Conference dinner Le Zoute<br />
Zoen<br />
MONDAY 25 AUGUST<br />
9h30-10h10 OLE KONGSTED<br />
(Kongelige<br />
hagen, DK)<br />
Bibliotek Copen-<br />
10h10-10h50<br />
Music <strong>and</strong> Hansa. Musicological<br />
<strong>and</strong> methodological problems in<br />
connection with the study of music<br />
in the ‘Hansestädte’<br />
PATRICK DENECKER<br />
(La Caccia, BE)<br />
The Partbooks of Dorothea<br />
10h50-11h10 Coffee break<br />
11h10-11h50 IZABELA BOGDAN<br />
(Adam Mickiewicz University<br />
Poznan, PL)<br />
Königsberg Wedding Ceremonies in<br />
the Context of Musical Culture of<br />
the Hanseatic Region in the 16th <strong>and</strong> 17th Centuries<br />
11h50-12h15 Programme Committee:<br />
Conclusions<br />
12h15 Lunch<br />
14h00 Visit to Museum Vleeshuis<br />
guided by Karel Moens<br />
7<br />
Van Laerzaal,<br />
Elzenveld<br />
Museum<br />
Vleeshuis
ABSTRACTS<br />
HANNO BRAND<br />
Hanse Research Centre – Rijksuniversiteit Groningen, NL<br />
The Hanseatic Legacy: trade, town life <strong>and</strong> culture<br />
Although the Hanseatic League was one of the most elusive of<br />
all early maritime empires, it is very difficult to asses its cultural<br />
coherence. Hanseatic culture has been regarded as a spin-off<br />
effect of intense commercial exchange in a period which lasted<br />
mote than five centuries, in which the League enfolded form a<br />
loose community of individual merchants into a league of towns<br />
with impressive political influence <strong>and</strong> commercial endeavour.<br />
Although, as most <strong>and</strong> for all the historical architecture in<br />
former Hanseatic towns suggests, the League left a cultural<br />
imprint on North-western European cities, is also clear that<br />
Hanseatic merchants played only a limited role in shaping a<br />
Hanseatic civilization. Its commercial network <strong>and</strong> its ships that<br />
plied the waters of the Northern seas were the carriers of<br />
knowledge, art, architecture <strong>and</strong> music which spread through its<br />
cities. Hanseatic culture was, however, not a export product but<br />
the result of exchange between the regions along the shores of<br />
the Northern Seas. It was not contained to the Hanseatic region<br />
but bears many Flemish, Dutch <strong>and</strong> Sc<strong>and</strong>inavian influences.<br />
Nor can we assume that the area between the western Low<br />
Countries <strong>and</strong> the modern Baltic states were part of one clearly<br />
defined cultural l<strong>and</strong>scape. Modern research in fact suggests that<br />
the Hanse did not show a specific uniform cultural identity<br />
within the limits of its own region, but that it was shaped abroad<br />
within the limits of the foreign offices. Still no one will neither<br />
deny the existence of a similar language in the Hanseatic area,<br />
nor the formation of a similar commercial identity or the rise of<br />
a hanseatic town l<strong>and</strong>scape which showed many common<br />
characteristics. This paper will address the Hanse’s cultural<br />
ambiguity from a political, economic <strong>and</strong> cultural perspective. It<br />
is an attempt to show that the League, though being a very loose<br />
network of towns <strong>and</strong> merchants, owed much of its unity<br />
8
through the formation of a common urban culture which found<br />
an expression in political structure, technology, language,<br />
education, architecture, art <strong>and</strong> leisure.<br />
ARNE SPOHR<br />
Wolfenbüttel, DE<br />
„Was hört man da vor Seytenspiel / Orpheus nicht dabey<br />
gleichen will“: Die Huldigung Hamburgs vor Christian IV.<br />
(1603) und ihre musikgeschichtlichen Folgen<br />
Die Huldigung Hamburgs vor dem dänischen König Christian<br />
IV. im Oktober 1603 war eines der bedeutendsten politischen<br />
und kulturellen Ereignisse, die Nordeuropa in den Jahrzehnten<br />
um 1600 erlebte. Ihre Bedeutung lässt sich am Aufw<strong>and</strong> der eine<br />
Woche dauernden Feierlichkeiten, am Rang der anwesenden<br />
adligen Gäste, an der Zahl der überlieferten Festberichte und am<br />
Echo ablesen, die sie in zeitgenössischen Chroniken f<strong>and</strong>.<br />
Dabei ist diese Huldigung von der Geschichtswissenschaft<br />
bislang, wenn überhaupt, zumeist unter politischem oder<br />
juridischem Aspekt betrachtet worden. Eine Untersuchung ihrer<br />
Bedeutung für die Kultur- und speziell für die Musikgeschichte<br />
Hamburgs und Norddeutschl<strong>and</strong>s der Jahrzehnte bis zum<br />
Dreißigjährigen Krieg steht bislang aus. Dabei lässt sich anh<strong>and</strong><br />
des umfangreichen erhaltenen Quellenmaterials<br />
(Rechnungsbücher, Reiselisten, Festberichte, Bildmaterial und<br />
Noten) demonstrieren, dass Musik von fürstlicher wie städtischer<br />
Seite neben <strong>and</strong>eren Künsten als wichtiges<br />
Repräsentationsinstrument eingesetzt wurde und dass eine<br />
Vielzahl höfischer und städtischer Musikinstitutionen an der<br />
Gestaltung der Festlichkeiten beteiligt war.<br />
Zum einen unternehme ich in meinem Vortrag eine<br />
Rekonstruktion der verschiedenen Anlässe, bei denen<br />
musikalische Ensembles während der Huldigungsfeierlichkeiten<br />
mitwirkten, und leiste damit einen Beitrag zur Erforschung der<br />
Huldigung als einem bedeutenden Beispiel frühneuzeitlicher<br />
Festkultur. Zum <strong>and</strong>eren bin ich in der Lage zu zeigen, dass die<br />
Huldigungsfeiern einen maßgeblichen Anlass für kulturellen<br />
9
10<br />
Austausch zwischen dem Hof Christians IV. und Hamburg<br />
darstellten. Es war dies ein Austausch mit weitreichenden<br />
musikgeschichtlichen Folgen: Durch die Vermittlungstätigkeit<br />
des dänischen Hofmusikers und späteren Hamburger<br />
Ratsmusikdirektors William Brade (1560-1630), eines aus<br />
Engl<strong>and</strong> stammenden Geigers, gelangte im Kontext der<br />
Huldigung höfisches Musikrepertoire von Dänemark nach<br />
Hamburg. Dieses gab dort wiederum den Impuls zur<br />
Begründung einer eigenen, spezifisch hamburgischen<br />
Repertoiretradition, die bis zur Mitte des 17. Jahrhunderts<br />
fortwirkte und die Stadt zum wichtigsten deutschen<br />
„Umschlagplatz“ von Instrumentalmusik machte. Mein Beitrag<br />
geht in diesem Zusammenhang der Frage nach, inwiefern die<br />
Genese dieses städtischen Repertoires als Ausdruck eines<br />
wachsenden Hamburger Selbstbewusstseins gegenüber<br />
benachbarten Fürstenstaaten (besonders Dänemark) verst<strong>and</strong>en<br />
werden kann.<br />
ESTHER CRUSCIOLA DE LAIX<br />
University of California - Berkeley, US<br />
Hieronymus Praetorius’s Opus musicum <strong>and</strong> Music Print<br />
in Early Seventeenth-Century Hamburg<br />
Hieronymus Praetorius (1560-1629), organist at the church of St.<br />
Jacobi in Hamburg, produced five volumes of motets <strong>and</strong><br />
liturgical polyphony, for five to twenty voices, between 1599 <strong>and</strong><br />
1625. In these works, which came to be known collectively<br />
under the title Opus musicum, print <strong>and</strong> musical genres new to<br />
Hamburg coincided. While the little music printed in Hamburg<br />
before 1599 consisted mainly of vernacular hymnbooks in<br />
octavo <strong>and</strong> duodecimo, Praetorius offered music in the gr<strong>and</strong><br />
polychoral style of the High Renaissance, printed in the upright<br />
quarto format previously reserved for celebratory works <strong>and</strong> for<br />
official publications of the city government. By having his<br />
compositions printed - often at his own expense - Praetorius<br />
ensured his own prominence within Hamburg as a city organist,<br />
<strong>and</strong> beyond as a composer. The high quality of his music, <strong>and</strong> of
11<br />
its presentation in print, ultimately redounded to the glory of<br />
Hamburg.<br />
I offer a print history of these important works, among the first<br />
of their kind to be published in North Germany. One aim of my<br />
discussion is to resolve some of the bibliographical confusion<br />
surrounding Praetorius’s works, due to the multiplicity of<br />
editions, the dearth of surviving materials, <strong>and</strong> misleading<br />
information in the bibliographical literature; in particular, I argue<br />
against the existence of a first edition from 1618 of Praetorius’s<br />
fifth volume, the Cantiones novae officiosae, despite references in<br />
Eitner’s Quellen-Lexikon <strong>and</strong> elsewhere. Finally, I evaluate the<br />
umbrella term Opus musicum, which has come to refer to all of<br />
Praetorius’s published works, <strong>and</strong> investigate the typographical<br />
<strong>and</strong> publicational mechanisms by which Praetorius’s disparate<br />
musical collections were repackaged as a unified, retrospective<br />
Opus musicum.<br />
SOFIE TAES<br />
K.U.Leuven - <strong>Alamire</strong> <strong>Foundation</strong>, BE<br />
Still making waves: Traces of the Hanze in Music History<br />
To study the topic ‘Music <strong>and</strong> Hanze’ is to be aware of its many<br />
facets, methodological problems, <strong>and</strong> its complex of meanings<br />
<strong>and</strong> relations.<br />
Within this domain of research, different paths can be chosen;<br />
the study of music ‘in hanseatic cities’ - in other words: the study<br />
of music at a certain location, within a certain time span, both<br />
colliding with hanseatic history, but with no further regards to a<br />
possible interference between Music <strong>and</strong> Hanze - is a possible<br />
trajectory.<br />
Another one, however, that will be explored in this paper, is to<br />
focus on the importance of the Hanze as an<br />
economical/political/cultural phenomenon <strong>and</strong> structure, for<br />
developments within music history <strong>and</strong> - on the reverse side - on<br />
the functions <strong>and</strong> use of music within the context of the<br />
hanseatic league.
12<br />
Two case studies - discussing musical life in two of the most<br />
important hanseatic towns - will be presented as an illustration of<br />
both sides of this complex, but fascinating story. The town of<br />
Lübeck will be the first focal point of this lecture, with an<br />
emphasis on the history of the Abendmusiken - where the<br />
economical entity ‘Hanze’ <strong>and</strong> the cultural entity ‘music’ seem to<br />
relate to each other in a most direct way. A second point of<br />
special interest is Hamburg, where the evolutions within the<br />
history of the ‘Ratsmusikanten’ show significant parallels <strong>and</strong><br />
connections with hanseatic history.<br />
As such, this paper hopes to provide a general outline of the<br />
central topic of this conference <strong>and</strong> the Laus Polyphoniaefestival,<br />
as well as a more detailed <strong>and</strong> concrete view provided by<br />
the examples of Lübeck <strong>and</strong> Hamburg.<br />
AGNIESZKA LESZCZYŃSKA<br />
University of Warsaw, PL<br />
From Kampen via Königsberg to Gdańsk: the life of<br />
Johannes Wanning<br />
Johannes Wanning spent all of his life in hanseatic cities. Born in<br />
Kampen in 1537 <strong>and</strong> probably educated there, he left the Low<br />
Countries as a young man, maybe for economic reasons. In 1560<br />
he went to Königsberg <strong>and</strong> became employed as a singer in the<br />
chapel of Prince Albrecht. His first compositions were written<br />
there. In 1569 Wanning became a chori musici magister at the<br />
Marienkirche in Gdańsk <strong>and</strong> stayed there till his death in 1603.<br />
He was receiving wages from the City Council. Its role in<br />
supporting musicians, not only those active in Gdańsk, was very<br />
important. Wanning was compelled to adapt directives of the<br />
councillors but he knew how to force his artistic ideas. His high<br />
rank in the life of the city was testified by the fact that he was a<br />
member of the elite Reinholdsbank in the Artushof. Almost all<br />
his works - more than 100 compositions (motets, masses,<br />
occasional pieces) - originated in Gdańsk. Some of them were<br />
dedicated to the local burghers. Motet collections by Wanning<br />
were printed in Nürnberg, Dresden <strong>and</strong> Venice <strong>and</strong> probably the
13<br />
editions were sponsored by the rich patriciate. Manuscripts of his<br />
other works were preserved in church collections of hanseatic<br />
cities - Gdańsk, Elbląg <strong>and</strong> Lübeck.<br />
DIRK SNELLINGS<br />
Ensemble Capilla Flamenca, BE<br />
Musicalia Gedanenses - Juvons beau jeu: dining with<br />
Music in Gdansk, c. 1550<br />
The Library of the Biblioteki Polskiej Akademii Nauk in Gdansk<br />
possesses a unique collection of 35 music manuscripts <strong>and</strong> prints<br />
dating from the 16th <strong>and</strong> 17th centuries. They contain over one<br />
thous<strong>and</strong> pieces of music. This magnificent collection was<br />
studied in the beginning of the Twentieth Century by Otto<br />
Günther, who published his Katalogus der H<strong>and</strong>schriften der Danziger<br />
Bibliothek in 1911. In 1990 a new version of this catalogue<br />
appeared, which contains the incipits of all compositions <strong>and</strong> a<br />
list of the manuscripts that went missing since 1911.<br />
This paper will discuss the structural <strong>and</strong> formal aspects of Ms.<br />
4003 (olim Mus. q. 20) Gdansk, Biblioteki Polskiej Akademii<br />
Nauk), <strong>and</strong> offers an overview of its musical contents.<br />
Furthermore, this source will be discussed within its historical<br />
perspective through a detailed study of its provenance. Using<br />
this as a starting point, a comparison with other h<strong>and</strong>written or<br />
printed music books with similar features will be made, to shed<br />
light on private/civic musical practice within the circles of<br />
wealthy citizens/merchants in hanseatic towns of Renaissance<br />
Europe.<br />
DANUTA SZLAGOWSKA<br />
Akademia Muzyczna - Gdańsk, PL<br />
Polychorality <strong>and</strong> Concertato in Gdańsk: Foreign<br />
Influences <strong>and</strong> Local Tradition<br />
At the turn of the 17 th century up to the mid 17 th-century<br />
Gdansk flourished in all aspects of culture. Its wealth, openness<br />
<strong>and</strong> religious tolerance attracted many immigrants from other<br />
parts of the Polish-Lithuanian Commonwealth, the Netherl<strong>and</strong>s,
14<br />
German principalities, Engl<strong>and</strong>, Scotl<strong>and</strong> <strong>and</strong> Sc<strong>and</strong>inavia. The<br />
multinational aspect of Gdansk <strong>and</strong> numerous contacts with<br />
leading European centres were important factors allowing the<br />
city to easily adopt elements of foreign cultures.<br />
A repertoire contained in the manuscripts <strong>and</strong> prints from<br />
Gdansk libraries conveys a musical image of the city which<br />
successfully adopts the stylistic achievements of the Netherl<strong>and</strong>s,<br />
Italian <strong>and</strong> German composers. A characteristic feature of the<br />
repertoire functioning in Gdansk seems to have been a penchant<br />
for polychoral compositions, written both abroad <strong>and</strong> locally<br />
(Lampadius, Zangius, Hakenberger, Dulichius). There are so<br />
many examples of this type of music that Gdansk should be<br />
considered one of the foremost centres of polychorality in the<br />
Polish-Lithuanian Commonwealth. There is, nevertheless,<br />
evidence that in Gdansk there were relatively early adoptions of<br />
stile concertato (works by local composers - Gremboszewski,<br />
Schnitzkius <strong>and</strong> works dedicated to the Gdansk City Council by<br />
Bernardino Borlasca <strong>and</strong> Thobias von Düren). The rapidity of<br />
the polychoral permeation to Gdansk, as well as the early arrival<br />
of new Baroque ideas, can be compared to similar phenomena<br />
known from the excellent King’s Chapel in Warsaw <strong>and</strong> certainly<br />
proves the high level of musical life in Gdansk.<br />
Gdansk undoubtedly also played an important role in promoting<br />
musical ideas, especially polychoral, across Northern Europe.<br />
DANUTA POPINIGIS<br />
Akademia Muzyczna – Gdańsk, PL<br />
Die Sing-Glocken aus s`Hertogenbosch in der Hansestadt<br />
Danzig<br />
Die 14 Glocken des automatischen Glockenspiels des Danziger<br />
Rechtstädtischen Rathauses kamen aus s`Hertogenbosch, wo sie<br />
von dem Glockengießer Johannes Moor angefertigt worden<br />
waren. Das Glockenspiel wurde 1561 in Betrieb genommen.<br />
Dadurch, dass es sich alle Stunde einschaltete, war es für die<br />
Bewohner der Stadt ein verlässlicher Zeitmesser, wobei das<br />
Glockenspiel aber auch als Signalinstrument bei wichtigen
15<br />
Ereignisse galt, was Archivquellen aus der zweiten Hälfte des 18.<br />
Jh.s detailliert beschreiben.<br />
Die Glocken aus s`Hertogenbosch wurden rasch zu einem<br />
deutlich wahrnehmbaren Element der Musikkultur der<br />
Hansestadt Danzig. Ich bin jedoch der Auffassung, dass das<br />
Auftauchen des Glockenspiels für die Stadt noch weiter gehende<br />
Konsequenzen hatte, und zwar stelle ich die Hypothese auf, dass<br />
höchstwahrscheinlich Franciscus de Rivulo, jener bekannte<br />
Komponist, der erster Kapellmeister des Musikensembles des<br />
Danziger Stadtrats wurde, eben wegen jenes Glockenspiels nach<br />
Danzig gekommen war. Es muss betont werden, dass die ersten<br />
Anmerkungen über den höchstwahrscheinlich aus den<br />
Niederl<strong>and</strong>en stammenden Franciscus de Rivulo auf das Jahr<br />
1560 zurück gehen, also genau auf jene Zeit, als man in<br />
s`Hertogenbosch an der Bestellung der Danziger Glocken<br />
arbeitete. Die Stadt brauchte also nur noch jem<strong>and</strong>en, der die<br />
Melodien im Glockenspiel-Mechanismus richtig „stellen“<br />
konnte, und wer hätte sich dafür besser geeignet als ein aus den<br />
Niederl<strong>and</strong>en stammender Musiker?<br />
OLE KONGSTED<br />
Kongelige Bibliotek Copenhagen, DK<br />
Music <strong>and</strong> Hansa. Musicological <strong>and</strong> methodological<br />
problems in connection with the study of music in the<br />
"Hansestädte".<br />
In this paper, the speaker will address the specific challenges <strong>and</strong><br />
problems of musicological research activities within the domain<br />
of hanseatic history. Starting from his own experience as a senior<br />
research fellow at The Royal Library of Copenhagen, music<br />
editor <strong>and</strong> choirmaster <strong>and</strong> organist at the Church of the Sacred<br />
Heart (Copenhagen), the author will consider matters of a<br />
musicological nature as well as methodological questions. As a<br />
result, the study of music in hanseatic cities will emerge as a<br />
complex of fine nuances within a multifaceted context.
16<br />
PATRICK DENECKER<br />
Ensemble La Caccia, BE<br />
The Partbooks of Dorothea<br />
Ms II 3843 in the Royal Library of Brussels is a remarkable<br />
manuscript. It belonged to the former collections of Perne <strong>and</strong><br />
Fétis. Consisting of 5 extremely small books bound in leather<br />
with gold print it contains music from the circle of Duke<br />
Albrecht’s chapel in Königsberg. Most probably the music<br />
collection belonged to the Danish princess <strong>and</strong> the duke’s first<br />
wife Dorothea, in 1545. A number of texts are referring to<br />
members of the royal family <strong>and</strong> other noblemen with<br />
acrostichons.<br />
Names are not mentioned but the music is from composers as<br />
Isaac, Senfl <strong>and</strong> Kugelmann. Only the tenor parts are texted. The<br />
size of the manuscript rises many questions about ownership,<br />
use, performance practice etc. Interesting too are the<br />
contributions of texts by Johann Poli<strong>and</strong>er as well as the other<br />
texts which are situated in the Lutheran atmosphere.<br />
The manuscripts repertory refers more than once to other well<br />
known part books of the Royal Danish court chapel. Interchange<br />
of repertory through musicians must have been the case.<br />
IZABELA BOGDAN<br />
Adam Mickiewicz University Poznan, PL<br />
Königsberg Wedding Ceremonies in the Context of Musical<br />
Culture of the Hanseatic Region in the 16 th <strong>and</strong> 17 th<br />
Centuries<br />
Königsberg, along with five other Prussian towns (Gdańsk,<br />
Elbląg, Toruń, Chełmno <strong>and</strong> Braniewo) as well as three Livonian<br />
ones (Riga, Dorpat, Reval), belonged to the Prussian-Livonian<br />
quarter, one of the four such within the Hanseatic Leagues,<br />
comprising trade towns under the leadership of Lübeck.<br />
Königsberg, which remained within the sphere of Hanseatic<br />
influences up to the mid 17 th century, adopted a considerable<br />
number of customs typical for that cultural region, including the<br />
course of wedding ceremonies. In my paper, I intend to examine
17<br />
the successive stage of these ceremonies taking place in the three<br />
cities of Königsberg at the turn of the 16 th <strong>and</strong> 17 th centuries, in<br />
a broad context of similar ones taking place in other Hanseatic<br />
centres. I would like to point out similarities <strong>and</strong> differences<br />
between them in reference to the nuptial habits, people<br />
participating <strong>and</strong> the music performed (vocal <strong>and</strong> instrumental<br />
pieces as well as dances).<br />
It would be also important to focus on wedding ceremonies<br />
taking place at the Königsberg prince court, which accounted, to<br />
a great extent, for the specificity of that Prussian townresidence.<br />
Details concerning various aspects of wedding<br />
ceremonies could be found in the successive church regulations<br />
(Kirchenordnungen), state regulations (L<strong>and</strong>esordnungen) as<br />
well as wedding ordinances (Hochzeitordnungen) passed in the<br />
course of the 16 th century in Ducal Prussia, which have not been<br />
analysed so far in the context of musical culture. The Prussian<br />
Duchy, as the first secular Protestant state in the world, had to<br />
create regulations concerning all the ceremonies, including the<br />
weddings. As for the music composed for Königsberg weddings,<br />
there are about 200 extant pieces by various composers, with<br />
Johannes Eccard <strong>and</strong> Johannes Stobaeus as central figures. The<br />
analyses of their diverse repertory of wedding music, proved,<br />
especially in the case of polychoral works, considerable links<br />
with north-European musical tradition <strong>and</strong> musical output of the<br />
composers active in Hanseatic towns, mainly of the Baltic<br />
Region.
PRACTICAL INFORMATION<br />
Conference Venue<br />
Van Laerzaal - Cultural Conference Center Elzenveld<br />
Lange Gasthuisstraat 45<br />
2000 Antwerp<br />
BELGIUM<br />
18<br />
H<strong>and</strong>outs<br />
You will need ca. 25 h<strong>and</strong>outs.<br />
Copy-Service is available nearby, in Koppie Kopie,<br />
Nationalestraat 85, 2000 Antwerp - 03 232 16 97 | Aertssens<br />
Copy Service, Lange Nieuwstraat 10, 2000 Antwerp - 03 233 03<br />
47 (closed on Saturdays <strong>and</strong> Sundays)| Printshop,<br />
Vleminckstraat 13, 2000 Antwerp - 03 232 56 37<br />
Please keep in mind that on Sunday 24 August, all copyshops<br />
will be closed.<br />
Concerts<br />
The following concerts of the early music festival Laus<br />
Polyphoniae take place during the conference:<br />
o Opening Concert 23/08, 20h00<br />
o 24/08, 9h00 (Amarcord)<br />
o 24/08, 15h00 (La Caccia)<br />
o 24/08, 20h00 (Cantus Cölln)<br />
o 25/08, 12h00 (Capella della Torre)<br />
Tickets to these concerts are free for speakers; conference<br />
participants pay a reduced tarif of 15€ for the opening concert,<br />
<strong>and</strong> 10€ for each of the other concerts. The ticket to the<br />
Amarcord concert on Sunday morning includes breakfast<br />
afterwards.
19<br />
Please contact Ms. Sofie Taes for more information, or to make<br />
a reservation for tickets for these (or other) concerts at Laus<br />
Polyphoniae.<br />
Reception<br />
Saturday 23 August, 17h30 at the Town Hall (Grote Markt 1 –<br />
2000, Antwerp)<br />
Conference dinner – Sunday 24 August, 20h00<br />
The conference dinner will take place at the restaurant Le Zoute<br />
Zoen (Zirkstraat 15 / 17 – 2000 Antwerpen).<br />
The restaurant is not far from the conference venue: in front of<br />
the Elzenveld, tram 7 “Mortsel - Sint-Pietersvliet” takes you to<br />
“Antwerpen Klapdorp” - no more than a short walk from the<br />
restaurant - in less than 10 minutes.<br />
Contact<br />
In case of questions or problems during the conference, please<br />
contact the organisation committee: Ms. Sofie Taes,<br />
sofie.taes@arts.kuleuven.be<br />
Tel.: +32 494 883518 (temporary number)
EATING OUT<br />
20<br />
The people of Antwerp have always had a reputation for being<br />
gourmets. The majority of Antwerp restaurants tend to go in the<br />
direction of the French cuisine, with the addition of a few fine<br />
Belgian touches. However, in this cosmopolitan city you’ll find a<br />
whole range of European, ethnic <strong>and</strong> biological cuisine as well as<br />
restaurants experimenting with the latest food fads. The greatest<br />
concentration of places to eat is in the areas around the historic<br />
city centre, the central station <strong>and</strong> the South quarter of Antwerp.<br />
It's impossible to provide a full overview. Down below we give<br />
just a few suggestions.<br />
RESTAURANTS<br />
De Rooden Hoed<br />
Oude Koornmarkt 25<br />
03 233 28 44<br />
[open 7/7]<br />
La Luna<br />
Italiëlei 177<br />
03 232 23 44<br />
info@laluna.be<br />
www.laluna.be<br />
[closed on Sundays &<br />
Mondays]<br />
La Pata Negra -<br />
Vlasmarkt 14<br />
info@la-patanegra.be<br />
[open all weekend]<br />
Restaurant Hippodroom<br />
Leopold De Waelplaats 10<br />
03 248 52 52<br />
resto@hippodroom.be<br />
[closed on Sundays]<br />
Bien soigné<br />
03 293 63 18<br />
Kleine Markt 9<br />
De Foyer<br />
Komedieplaats 18<br />
03 233 55 17<br />
www.defoyer.be<br />
[closed on Sunday<br />
evenings]
BISTROS - BRASSERIES<br />
K. Zeppos<br />
Vleminckveld 78<br />
03 231 17 89<br />
Gr<strong>and</strong> Café Horta<br />
Hopl<strong>and</strong> 2<br />
03 232 28 15<br />
SANDWICHES<br />
Fresh & Fruity<br />
Kammenstraat 19<br />
03 231 13 08<br />
Le Pain Quotidien - Het<br />
Dagelijks Brood<br />
Mechelsesteenweg 45<br />
03 225 1229<br />
&<br />
Steenhouwersvest 48<br />
03 226 76 13<br />
www.painquotidien.com<br />
Den Artist<br />
Museumstraat 45<br />
03 238 09 95<br />
[open 7/7]<br />
Zozan<br />
Lambermontplaats 25<br />
03 232 05 79<br />
[closed on Mondays]<br />
Panos<br />
Nationalestraat 84<br />
03 234 25 66<br />
&<br />
Meir 60<br />
03 232 15 17<br />
www.panos.be<br />
’t Bieke<br />
Korte Gasthuisstraat 8<br />
03 231 6159<br />
Délifrance<br />
Meir 26<br />
03 232 94 15<br />
21
INTERNET CAFES<br />
2Zones<br />
Wolstraat 15<br />
info@2zones.com<br />
03 232 24 00<br />
Kv-Kaffee Cyberspace<br />
Oudaen 14<br />
info@kv-kaffee.be<br />
TAXI SERVICES<br />
Taxi Steenackers<br />
Bullinckplaats 2<br />
0496 85 89 82<br />
Métropole<br />
Nassaustraat 21-25<br />
03 231 61 42<br />
03 222 98 72<br />
03 226 10 30<br />
taxi@metropole.be<br />
A-Taxi<br />
Oranjestraat 23A Box 18<br />
03 233 33 32<br />
francois@algoet.com<br />
Centraal Internet<br />
Gemeentestraat 32<br />
03 2342721<br />
Warpfactor9<br />
Kasteelpleinstraat 6<br />
Algemene Antwerpse Taxicentrale B.V.B.A.<br />
Eendrachtstraat 18<br />
03 216 16 16<br />
03 237 86 34<br />
22
LAUS POLYPHONIAE<br />
Music from the Hanseatic league<br />
23 - 31 August, on various locations in Antwerp<br />
23<br />
On Augustus 23, the Antwerp edition of the Fl<strong>and</strong>ers Festival<br />
opens its doors to this sparkling episode of international history.<br />
An episode that somehow still seems to harbour plenty of<br />
musical mysteries. You are kindly invited to come <strong>and</strong> unveil<br />
them.<br />
23/08/2008 - 20:00 Concerto Palatino & Gesualdo Consort Amsterdam<br />
24/08/2008 - 09:00 Amarcord<br />
24/08/2008 - 15:00 La Caccia<br />
24/08/2008 - 20:00 Cantus Cölln<br />
25/08/2008 - 12:00 Capella de la Torre<br />
25/08/2008 - 20:00 Weser Renaissance<br />
26/08/2008 - 12:00 Josquin Capella<br />
26/08/2008 - 20:00 Concerto Palatino<br />
27/08/2008 - 12:00 organ, Liuwe Tamminga<br />
27/08/2008 - 20:00 Ars Cantus<br />
28/08/2008 - 12:00 Stimmwerck<br />
28/08/2008 - 20:00 Concerto Palatino & Gesualdo Consort Amsterdam<br />
29/08/2008 - 12:00 luit, Jakob Lindberg<br />
29/08/2008 - 20:00 La Caccia<br />
29/08/2008 - 22:30 Zefiro Torna & Antwerps Kathedraalkoor<br />
30/08/2008 - 10:30 Benjamin Bagby & Katarina Livljanić<br />
30/08/2008 - 20:00 Capilla Flamenca<br />
30/08/2008 - 22:30 Heinavanker<br />
31/08/2008 - 15:00 Il Trionfo del Tempo<br />
31/08/2008 - 16:30 Jean-Pierre Mathieu & Carles Cristobal, Masterclass<br />
31/08/2008 - 20:00 Huelgas Ensemble
HOW TO TRAVEL TO / FROM ANTWERP?<br />
24<br />
By train<br />
Both international trains <strong>and</strong> inter-city trains stop in Antwerpen-<br />
Centraal <strong>and</strong> Antwerpen-Berchem stations. Every hour 15 IC, IR<br />
or L-trains stop from/to Antwerp.<br />
When visiting Antwerp you can take advantage of the<br />
commercial all-in formulas of Belgian rail company NMBS.<br />
These “B-Day Trips” include a train ticket plus entry to one<br />
attraction, as well as other transport. Train passes, weekend<br />
tickets or group rates (from 15 persons) are also interesting<br />
options.<br />
Contact:<br />
NMBS/SNCB<br />
Koningin Astridplein 27<br />
2018 Antwerp<br />
General information number: +32 (0)2 528 28 28 (or<br />
+32 (0)2 555 25 55 for dial phones)<br />
Brussels Airport (Zaventem)<br />
28 miles or 30 minutes drive from Antwerp city centre. National<br />
carrier: SN Brussels Airlines. Transport from/to the aerport: SN<br />
Brussels Airlines Express bus (shuttle service), by train<br />
NMBS/SNCB (change trains in Brussels), de Lijn bus 820/821<br />
or by taxi.<br />
Contact:<br />
Brussels Airport<br />
1930 Zaventem<br />
Phone from Belgium: 0900 700 00 (0,40 euro/minute)<br />
Phone from abroad: +32 (0)2 753 77 53
25<br />
GETTING AROUND THE CITY<br />
Antwerp is a pedestrian-friendly city. Some 20% of this historic<br />
city centre is traffic-free <strong>and</strong> during the many summer festivities<br />
pedestrians are given absolute priority. Another convenient way<br />
to get around the city is by bus or tram. These services enable<br />
your clients to easily reach all major places in Antwerp. There are<br />
two major bus terminal stations: Centraal Station en<br />
Rooseveltplaats.<br />
Car parks<br />
Different P-routes guide you to the parkings in town. Just beneath<br />
you'll find a list of the P-routes <strong>and</strong> their parkings:<br />
Historic centre (P-route 'Historisch centrum'):<br />
• Noorderterras: Orteliuskaai<br />
• Zuiderterras: Ernest Van Dijckkaai<br />
• Grote Markt: Ernest van Dijckkaai 7<br />
Centre (P-route 'Centrum'):<br />
• Brabo: Kammenstraat 2<br />
• Groenplaats: Groenplaats<br />
• Rubens: Lombardenvest 24-28<br />
• Meir: Eiermarkt 33<br />
• Lombardia: Lombardenvest 11<br />
• Oudaen: Oudaan 3<br />
• Cammerpoorte: Nationalestraat 38<br />
Central Station - Zoo (P-route 'Centraal station-Zoo'):<br />
• Nova: Van Schoonhovenstraat 25<br />
• Breidel: Breidelstraat 15-17<br />
• De Keyser: Van Ertbornstraat 13<br />
• Empire: Appelmansstraat 25<br />
• Quellin: Quellinstraat 39<br />
• Roosevelt: Franklin Rooseveltplaats 12<br />
Meir-University (P-route 'Meir-Universiteit):<br />
• Van Dijck: Eikenstraat 9<br />
• Sint Jacob: Sint Jacobsmarkt 81-83<br />
Meir-Municipal theatre (P-route Meir-Stadsschouwburg):<br />
• Arenberg: Oudevaartplaats 2-4
• Horta: Hopl<strong>and</strong> 24<br />
• Leopold: Henri Van Heurckstraat 9<br />
• Hopl<strong>and</strong>: Hopl<strong>and</strong> 40<br />
• Stadsschouwburg : Meistraat 4<br />
Inno: Hopl<strong>and</strong> 45<br />
How to reach the concert venue:<br />
(AMUZ - Kammenstraat 81, B-2000 Antwerp)<br />
26<br />
• By public transport<br />
o stop Kammenstraat: trams 4, 8<br />
o stop Groenplaats: trams 2, 3, 4, 8, 15<br />
o stop Oudaan: trams 7, 8<br />
o stop Nationalestraat/Van Rijswijckplaats: trams 4, 8,<br />
busses 22, 25, 26<br />
o stop Komedieplaats: bus 9<br />
Go to www.delijn.be for a route description <strong>and</strong> timetables<br />
of De Lijn or call 070 22 02 00 for more information. The<br />
timetables of the NMBS can be found at www.b-rail.be or<br />
call 03 204 20 40 (Info Antwerp National Travellers).<br />
• By car<br />
Due to road works in Antwerp, the traffic situation is variable.<br />
Check www.antwerken.be to see the lastest updates. Parking<br />
place is scarce in the immediate vicinity of AMUZ. Therefore,<br />
it’s recommended to use the surrounding pay car parks:<br />
(Parking Oudaan, Oudaan - Parking Rubens, Kammenstraat<br />
& Lombardenvest - Parking Lombardia, Lombardenvest -<br />
Parking Cammerpoorte, Drukkerijstraat/Nationalestraat -<br />
Parking Groenplaats)
Restaurant Le Zoute Zoen<br />
AMUZ, concert venue Theater Hotel Elzenveld, conference venue<br />
Town Hall (reception)<br />
Carolus Borromeus Church<br />
(Opening Concert)<br />
CONFERENCE 27<br />
MAP